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CUT – Leute machen Kleider
Das Winterheft 2015/2016 des DIY-Modemagazins CUT ist von A bis Z inspiriert von unserer Lieblingskunst, der Typografie.
In Kooperation mit Monotype entstand ein ganz besonderes Heft, das inhaltlich und äußerlich mit Schrift und Buchstaben spielt. So kommen auf den 150 Seiten der neuen CUT nicht nur viele verschiedene neue und klassische Schriften zum Einsatz … gleich mehrere Stories und Fotostrecken drehen sich bildhaft um Buchstaben.
»Dies ist die allererste Themenausgabe von CUT: We love typography!« schreiben die fünf Herausgeberinnen im Editorial. »Deswegen haben wir uns nicht nur beim Layout ausgetobt, sondern zeigen ebenfalls in zig DIY-Ideen, was man mit A, B & Co alles anstellen kann.« Das Spektrum reicht vom Grußkartenprägen übers Wörterhäkeln bis zum Obstsalat in Buchstabenform.
»Die Kooperation mit CUT macht uns überglücklich, weil das mehrfach preisgekrönte Magazin europaweit als Visual Leader geschätzt wird.« so unser Marketing-Direktor Jürgen Siebert über den Anstoß zur Zusammenarbeit. »Während wir die neuesten Schriften üblicherweise mit selbst inszenierten Blindtexten darstellen, können sie hier im professionellen Alltag ihre Stärken zeigen.« Und dass Schriften nicht nur die Augen, sondern auch das Hirn anregen, beweist die Redaktion im »Interview mit einer Schrift«. FF Hertz, eine neue Schöpfung des Berliner Schriftentwerfers Jens Kutílek, spricht über Gleichberechtigung, Magersucht und billige Kleider. »Auf diese Art hat sich noch keine unserer Schriften in den letzten 20 Jahren empfohlen.« würdigt Siebert die Idee der Redaktion.
CUT ist ab dem 8. Dezember 2015 im Handel und kostet 9,50 € (inkl. MwSt.).
The Handel Gothic™ typeface has been a mainstay of graphic communication for over 40 years - all the while looking as current as tomorrow. Designed by Don Handel in the mid-1960s, and used in the 1973 United Airlines logo developed by Saul Bass, Handel Gothic was an instant success when released to the graphic design community. Its generous lowercase x-height, full-bodied counters and square... Read More
The “FF Kisman” package is a collection of five display fonts originally made for various magazines art-directed by Max Kisman: FF Cutout, FF Network, FF Scratch, FF Scratch Outline and FF Vortex. FF Scratch was hand-cut from ulano masking film, and FF Cutout was made with scissors, too. FF Network, like FF Rosetta, was a very early Macintosh font designed for Kisman’s own use. All were... Read More
Low stroke contrast, generous spacing, and fine-grained weights from Light to Extra Bold make FF Hertz a workhorse text typeface which holds up well under today’s widely varying output conditions from print to screen. The quite dark Book style works well on e-ink displays which usually tend to thin out letters, as well as in print when you want to evoke the solid letter image of the hot-metal... Read More
FF Mark is one of the most iconic geometric sans serif typefaces of our time. Created by German type designers Hannes von Döhren, Christoph Koeberlin, and the FontFont Type Department in 2013, this versatile family draws on historical examples from German geometry in the 1920s. With additional creative input of Erik Spiekermann, they created a contemporary interpretation of classic German... Read More
Frank Grießhammer started FF Quixo out as graduation project while studying in the Type and Media program at KABK Den Haag. Learning pointed-pen calligraphy, he explored a more casual dimension by interpreting the model with different-sized brushes. In the typeface presented at graduation each of the weights is based on a different writing tool. Afterward, the concept was re-evaluated and... Read More
FF Signa is a characteristically Danish design, rooted in architectural lettering rather than book typography. Originally created for signage—hence the name—FF Signa is now a typographic family with three widths. All weights include italics, small caps, and several styles of figures. Because of the quality of this “vernacular-lettering-turned-typeface” conversion, FF Signa received a Danish... Read More
Newcastle gives you great opportunities for spicy typography. If you find some similarities to one of FaceType’s fonts, ‘Blitzplakat’, you are right. Marcus Sterz took it to the next level and made it even better: He extended the range of letters, added optional catchwords, extra shapes, shadows, dust and arrows. Here is a lead to get the most out of Newcastle: Use ‘Discretionary Ligatures’ in... Read More
Sporting a convincing texture typical of the uneven ink seen in polymer plate letterpress work, Trend Rough offers a full chromatic set of stackable effects, including solid, inline, two shaded sets, and combined solid with hatched shadow. Times two—Sans and Slab, plus an additional set of filled and outlined geometric shapes and catchwords.